Tyson Hunsaker "Orpheus" represents director Jean Cocteau at his most capable time in his career. Based off the ancient Greek mythological legend by the same name, we follow Orpheus into the underworld to retrieve his dead wife. It's a philosophical and idea-focused piece on man's relationship with love, life, and death. It's highly thought-provoking in its themes and visual imagery and completely captivating by its dedicated cast."Orpheus" may feel distant and cold to the unprepared viewer, giving them a slow and methodical editing style. However, when one commits to the first act, the creative camera and editing tricks to heighten the sense of surrealism is well worth the patience. Some say "Orpheus" has a dreamlike and hypnotic style to it. When one finally sees it, it's apparent where modern credible directors might've retrieved inspiration from. Reminiscent of Stanley Kubrick's "Eyes Wide Shut" "Orpheus" contains a dreamlike pace and potentially untrustworthy narrative. Performances from the two main leads of the film present some of the most powerful moments in the story. Every scene feels authentic and emotionally raw as we deal with themes and subject matter that could be difficult to tackle. Thankfully, every actor handles their roles with care and deep exploration. It's impossible to talk about "Orpheus" without giving proper credit to it's breathtaking cinematography and brilliant visual effects. The mirror effect alone has had strong impact on mirror tricks now and never has the freeze frame felt so terrifying. Perhaps the most memorable moments of the film are in its imagery. "Orpheus" is a highly recommended dramatic fantasy for any film lover. For the viewer looking for more of an "entertaining" route, this one might drag or bore but for one looking to explore beautiful French experimental filmmaking, start with this one. It's beautifully done and truly a transcendent experience to behold.

Chrid Mann There have been many many films with magical or fantastical themes made over the years but there are very few which truly ARE magical.This film works even though the director had a low budget and had to make the best of the primitive state of special effects of his day. One is tempted to wonder what might have been achieved with today's CGI although the effects here, such as they are, do have a dreamlike charm which modern technology might not have been able to achieve, in the same way that a simple song on an old acoustic guitar can be far more moving than a super production drenched in lush state-of-the-art effects.This film is fascinating for me (and I know it's not everybody's cup of tea) because it is so different from other films. It is weird but in a poetical way. Somebody wrote 'haunting' in their review and that word certainly fits very well here.Maria Casares as the Princess of Death is wonderful and the other actors are also good. I must admit I am not very fond of Jean Marais as Orphée, he is far too whiny for my liking, which brings my star-rating down I'm afraid from a nine to an eight...If you don't understand French then you can read the subtitles. I am always reading that 'Americans don't like to read subtitles' and that some films have even not been marketed in the US because of this, or have actually been dubbed into American. I have never been able to understand this. Is it because a lot of Americans don't learn to read properly in school?

Vihren Mitev Film, missed by many movie fans and researchers, which grabs us from its beginning. Mysterious dreamy, theatrical, romantic, mythological.This is a modern Orpheus, whose harp is words. His fate was patronized by the only force that governs the lives of all of us. Flirting with her turned out unsuccessful, but the idea is very spectacular. First of all the transfer of the mythological into the modern world becomes imperceptible and is barely noticeable. But then the clash of the upper and lower land involves all the characters in the world of magical fantasy. Love saga, trying to rearrange the lives of well-chosen likable actors.In the travels between thees different worlds reflected in its unique French director that carries poetry, writers and playwright skills in the cinema. Techniques not common until then, and then after. Theatricality of acting. Drama like in the opera.http://vihrenmitevmovies.blogspot.com/Unique in itself, but part of a trilogy, this film is an experience bearing a festive feeling. Brings the nostalgia of mythological scenes of antiquity and cheers us with its freshness.

tugrul-anildi 1- A film should convey its meaning mostly not in words but moving pictures, otherwise some other form of expression must be used. If you take out the words from this film, you would be left with careless camera-work and settings (see 1931 film Nosferatu for a much careful camera work and settings- and a much better rising from the coffin scene-19 years earlier). Instead of making a film, Cocteau could publish a book of intellectual sentences decorated with still photography and we would not miss a thing."I am your death" may be an effective sentence by itself, but only in poems. If you use such sentences in a film, you must support it with visual elements in some way. 2- Many positive criticism centers on the symbolism hidden. Somebody symbolizes "poet", other one "death", we see how "poet" prefers art (that is listening to radio) to life, how "poet" is fascinated by "death".... But this is dry symbolism appealing only to the intellect but not meant to be felt. Trying to comprehend the feelings of a "poet" could be good, but instead, we are expected to appreciate his/her drama and "poetic cause". Do watchers feel any emotional contact with the "poet"? I don't think so. That is; film should appeal much much more to senses and emotions than the intellect. 3- Many other positive criticism, on the other hand, mentions innovative camera tricks, etc... You can see all of them in films from much earlier times. For example, rising from bed is done much better in Nosferatu(1931). If careless effects usage was intentional, what was the aim? Some intellectual explanation like "reversal just like from death back to life" might just make me laugh.All in all, we should not make injustice to excellent movies which can alter our emotions by comparing them with self-indulgent appraisal of artistic pain.